Beethoven Grande Sonata N. 3 Analysis

This setup allowed Kahane to perform while simultaneously conducting the orchestra. He stood during the orchestral parts and sat and gestured during solo passages. His conducting was energetic and decisive, which propelled the music kinetically. Kahane and the Houston Symphony consistently delivered the varied colors and articulation that can make Mozart’s music so special. First on the program was Mozart’s Piano Concerto No.

Bars 13-16 are reiterations of bars 1-2 with acciaccaturas added to the offbeat quavers in bars 15-16. Bar 17 introduces another sudden change from piano to forte and semiquaver arpeggiations in both hands. In the second time bar, the rising A major scale, also found in bar 9, propels the coda. The coda swiftly introduces new material: from beat three of bar 20 there is a decorated descending scalic motion from E to B in the melody line which is afterwards restated in semiquavers, finally reaching the tonic A. The piece ends with powerful perfect

A symphony is a sonata applied to the orchestra, a quartet is a sonata written for four instruments, and a classical concert is a sonata for a solo instrument and orchestra. Mozart and Beethoven are outstanding representatives of this genre. Beethoven with his nine symphonies, and his masterful quartets and sonatas for piano, was the last classicist and the first romantic, serving as a bridge between the two styles. The characteristic of classism was characterized by an energetic impetus that permeated the music, aiming to exult not the heavily God as the baroque did, but the earthly King through sophisticated composition which were thought to appeal to reason rather than to mere

This four-note motive was an identical opening of the Symphony as a unison statement. The Beethoven’s Fifth Symphony was a completion of the Third Symphony; however Beethoven repeatedly interrupted his work on the Fifth Symphony to prepare other compositions, such as other Piano Concertos and Fourth Symphony. The final preparation of the Fifth Symphony took place during 1807 to 1808; it was carried out in comparison with the Sixth Symphony, which both was performed first at the same concert. However Beethoven was almost mid-thirties during this time and he was suffered by the trouble of increasing deafness, which also makes this Symphony symbolic and significant, because Beethoven also named this 5th Symphony as a “The Destiny Symphony”, according to his destiny of being

Ludwig van Beethoven (17 December 1770– 26 March 1827) Sonata in C minor (‘Pathétique’), Op.13 Beethoven (1770–1827) Grave; Allegro di molto e con brio Adagio cantabile Rondo: Allegro Piano Sonata Op.13 was composed in 1798, during a time when Beethoven realised about his encroaching deafness. This piece soon became one of Beethoven’s most well-known compositions as its air of mystery and sober atmosphere had an immediate appeal to the public. The title of this piece refers to pathetic as sufferings, not the sense of pity. This piece shows resemblance to some piano works written by Mozart, in the same key. However, the way Beethoven had composed Pathetique departs fundamentally from that of his predecessor, with an attitude of defiance and resistance.

Evocative of much of the work he composed during his younger years Wolfgang Amadeus Mozart’s Symphony No. 29 is a testament to his genius and mastery of classical musical forms. Written when he was just eighteen years old the composition is a concise and peculiar example of classical Sonata form. Instead of having an introduction before the exposition Mozart ops to present the primary theme of the piece’s Allegro movement at the start of the first downbeat. Exceptionally melodic the primary theme of the movement start with an authoritative leap of an octave in the violins.

Beethoven’s Fifth is revolutionary due to the fact that there is no melody with an accompaniment, which is atypical of the classical period. Instead, Beethoven introduces the idea of a motif, which is evidenced in the opening four bars of the piece. This motif is used as a structural device to bring coherence to the piece; “the constantly invoked connection between the two four-note units is crucial to the movement.”(Steinberg, 1998). If it were not for this motif, then the piece would not have structural integrity. The opening few bars of Beethoven’s Fifth perhaps perfectly encapsulates what it means to be a Romantic, with a juxtaposition between the urgency of the quavers and the freezing of motion accomplished by the fermata over the long note of the phrase.

The music is tangible and moving as it illicits feelings of uncontained joy, outstanding triumph, and inexplicable loss. It is one of the truest statements of music ever composed. For Fredric Chopin and Pyotr Ilich Tchaikovsky these distinct expressions of the soul which were consequently affected by upbringing, influences, innovations, and era, transformed their music into masterpieces still appreciated

Schubert verified his extraordinary musicality while at the age of seventeen, he wrote one of the most groundbreaking and dynamic pieces in lieder history (Huizenga). This brilliant Austrian composer began his compositions at age ten, but rapidly progressed to compose the art song, Gretchen am Spinnrade. The text came from Johann Wolfgang von Goethe’s Faust and rewritten to music composed by Schubert. This dramatic work was composed in 1814, during the classical period of music. Written in 6/8 this melody finds a dancing pattern similar to a waltz.

Ultimately, the angelic talent of Janine Jansen gifted the audience with a breathtaking rendition. Janine Jansen’s performance included all 12 movements of Vivaldi’s Four Seasons. The first concerto “La primavera” or Spring which featured 3 movements Allegro, Largo, and Allegro Pastorale. The Second concerto’s movement “L 'estate” or Summer and featured three movements Allegro non molto, Adagio, and Presto. The third movement “L’autunno” or Fall featured three movements Allegro, Adagio Molto, and Allegro which brought the concert tempo up once more.